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When is BBC Sports Personality of the Year 2025? Latest news
TV & Streaming

When is BBC Sports Personality of the Year 2025? Latest news

by jummy84 November 8, 2025
written by jummy84

The BBC Sports Personality of the Year awards ceremony – the annual celebration of the best and brightest in British sport – is nearly here.

It’s been a big year for UK sport. From Rory McIlroy’s Masters triumph, the Lionesses claiming back-to-back Euros titles, the Red Roses’ dominant Women’s Rugby World Cup win on home soil, a Lions Tour win in Australia, and the Ryder Cup triumph in America.

The heroes who have delivered those successes are all vying to join the list of greats who have won the prestigious BBC Sports Personality of the Year award over the years.

The winner of that crown, and a host of other awards, will be handed out at next month’s ceremony, where we’ll see sporting stars dressed to the nines rather than in their usual kit.

RadioTimes.com brings you all the latest on the date and time of the BBC Sports Personality of the Year 2025 ceremony, as well as the location for this year’s star-studded event.

When is BBC Sports Personality of the Year 2025?

The date for this year’s BBC Sports Personality of the Year awards ceremony has not yet been confirmed.

In recent years, it has been held on a Tuesday in late December, which means Tuesday 16th December or Tuesday 23rd December are the likely dates.

How can you watch BBC Sports Personality of the Year 2025 on TV?

The channel for this year’s BBC Sports Personality of the Year has not yet been confirmed.

Last year’s ceremony was broadcast live on BBC One and on BBC iPlayer from 7pm, running until 9pm, and the 2025 event will likely be similar.

BBC presenters Clare Balding, Gabby Logan, and Alex Scott are expected to reprise their hosting roles.

Where is BBC Sports Personality of the Year 2025 held?

The show is expected to be held at MediaCity in Salford – home of the BBC – with a glitzy ceremony in store with something for everyone to enjoy on the night.

Check out more of our Sport coverage or visit our TV Guide and Streaming Guide to find out what’s on. For more TV recommendations and reviews, listen to The Radio Times Podcast.

November 8, 2025 0 comments
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Bill Maher
TV & Streaming

Bill Maher Issues Brutal Takedown of Supreme Court Amid Government Shutdown

by jummy84 November 8, 2025
written by jummy84

What To Know

  • Bill Maher criticized the U.S. Supreme Court for appearing partisan.
  • He highlighted the contrast between federal district courts frequently ruling against Donald Trump and the Supreme Court’s tendency to favor him.
  • Maher compared the Constitution to the Bible, suggesting both are revered but often ignored in practice.

Bill Maher issued a brutal takedown of the U.S. Supreme Court amid the government shutdown — while making a bold comparison of the Bible and the U.S. Constitution in the process.

On the Friday, November 7 episode of Real Time With Bill Maher, the comedian, 69, spoke at length about the Supreme Court’s recent track record.

“The Supreme Court has to recognize that they have one last chance to not look like a bunch of partisan hacks who are no different than the other two branches of the government,” he said. “This week, the court is hearing about a case that will definitively tell us if they really are a separate branch of government — or whether when the founders said you are a check on executive power, they thought it meant a blank check.”

That’s when Maher compared federal district court rulings to the U.S. Supreme Court rulings over the summer on things like “withholding money that Congress specifically authorized and suspending due process for non-citizens.” Between May 1 and June 23, federal district courts ruled against President Donald Trump 94.3% of the time (82 out of 87 cases), versus Trump’s 17-case winning streak in the U.S. Supreme Court.

“Which is funny because during the [Joe] Biden years, the court was all about reigning in presidential power,” Maher pointed out.

On Friday, the Supreme Court also granted the Trump administration’s emergency appeal to temporarily block a court order to fully fund SNAP benefits amid the government shutdown — after a federal judge gave the administration until Friday to make a payment to fully fund SNAP.

After skewering Trump for tariffs and declarations of nine national emergencies since taking office, Maher compared the U.S. Constitution to the Bible, tying back to the U.S. Supreme Court.

“The Constitution: Is it still a real thing, or is it just a vibe now?” he wondered aloud. “The Supreme Court has to decide: Are you going to be Democracy’s last line of defense, or is the Constitution now — really, let’s  be honest — just like the Bible. Just a sacred, old text that everyone name-drops with reverence but no one actually reads or even feels bad about ignoring.”

Maher continued, “Both testaments, the old due in the sky, and his hippie son — both have many commandments and pronouncements about slavery, and none of them are, ‘Don’t do it.’ The thing is, the Constitution is pro-slavery, too. But the difference with science and faith is, with the Constitution, we could amend it and did.”

To conclude his thoughts, the comedian added, “I could live with the Bible and its Bronze-Age nonsense as long as we also had the greatest document from the Age of Enlightenment. But now I fear they are both like a hot dog: Something Americans love, but they don’t know what’s in it, and they don’t care.”

Real Time With Bill Maher, Fridays, 10/9c, HBO

November 8, 2025 0 comments
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'Little Amélie or the Character of Rain' Directors Interview
TV & Streaming

‘Little Amélie or the Character of Rain’ Directors Interview

by jummy84 November 8, 2025
written by jummy84

There are too many animated movies to name that star children, but few capture how a child sees the world as well as “Little Amélie or the Character of Rain.” Based on a semi-autobiographical novel by author Amélie Nothomb, the film begins with the birth of the main character, a young Belgian girl whose father works as a diplomat in ’60s Japan, while the nation still had several scars from World War II. Precocious and believing herself to be a god, the young Amélie nonetheless has a child’s understanding of the world in which she lives, grappling with her identity as someone attached to the culture of her adopted home while also confronting death and real complex human feelings for the first time.

FRANKENSTEIN, Jacob Elordi as The Creature, 2025.  ph: Ken Woroner /© Netflix /Courtesy Everett Collection

“Little Amélie” is the feature directorial debut of Maïlys Vallade and Liane-Cho Han, French filmmakers who first met as students studying animation at Gobelins Paris. The two went on to work on several animated films together, most notably 2015’s “The Little Prince” and “Long Way North.” During production on 2018 of “Calamity,” a film by “Long Way North” director Rémi Chayé, Han gave Vallade a copy of the original novel by Nothomb, which he had first read when he was 19. Both directors were attracted to the book’s philosophical look at early childhood, with Vallade describing the novel as short but an “explosion of the senses.”

“I remember the first time I read that book at the end, I think it was the first time I cried while reading a book,” Han said in an interview with IndieWire. “So it had a very, very strong impact on me.”

To adapt the book, Mallade and Han took inspiration from the movies they made under Chayé, which have a simple and impressionistic hand-drawn aesthetic. The resulting work, which premiered at the Cannes Film Festival in May, is a gorgeous 2D animated creation, vibrantly combines colors to create Amélie’s world. For the animation, Mallade took some inspiration from “Japonisme,” a nineteenth-century French artistic movement that saw post-impressionist visual artists in the country take significant inspiration from Japanese artistic tradition.

“It’s one of the biggest references for everything that has to do with color in the movie, and also the simplification [of the art],” Mallade said.

Japanese animation also served as a visual reference during the movie’s production; Han said most of the team grew up during a time when the medium was popular in France, and described the film as a fusion between American, Disney-esque influences and those of Studio Ghibli and Hayao Miyazaki. Mallade, for her own part, describes live action filmmaking as her biggest inspiration, as it influenced the film’s cinematic framing and how she situated the “camera” to represent Amélie’s perspective.

During production, one of the biggest concerns for the team was representing Japan, and the book’s unique cultural mix between the country and Belgium. As Mallade put it, the Japan of the story is an idealized version of the real country, one seen through the precocious main character’s eyes, but they still wanted to pay attention to what Japan would have been like during the ’60s. Artistic director Eddine Noël did much of the research into the time period and the environment of the Kansai region in which the film is set, and built a replica of the house featured in the novel, and the team designed the house with Western furniture to represent the cultural fusion. Some areas, like a beach that plays a major role in the climax, are based on real places and drew from the plants and fish that are there in real life.

Although “Little Amélie” is a very grounded story of a girl’s coming-of-age, it contains several scenes in which the animators bent reality to represent Amélie’s point of view. Early in the film, she responds to the taste of a white Belgian chocolate bar as an almost nirvana-like awakening; when she experiences her first Spring, the flowers grow and expand into a limitless field. During the beach scene where she nearly drowns, the ocean parts for her in a symbolic moment. Han, who said the beach moment came from how he pictured the scene from the book as a kid, said these moments were intended to represent Amélie’s evolution, from a nearly mute baby in the beginning to a more mature girl by the end.

“We always tried to find some ideas that meet her emotional state,” Han told IndieWire. “You really feel that something happened to her brain, by connecting her neurons together, so she’s a bit more conscious about herself.”

Mallade described the process of putting the audience in the brain of Amélie as the most challenging part of making the entire film, as it was key to making the very simple story feel universal and emotionally resonant. Narration from Amélie, in which she conveyed her innocent worldview, helped to situate the audience in her perspective. As part of the process, Mallade and Han asked their team for memories they had from their childhood to pepper throughout the film. For example, a key scene where Amélie’s nanny Nishio creates and spins two tops, as a metaphor for their powerful soulmate connection, came from a memory a color artist offered. Mallade said these moments helped make the film both more specific and more universal, something that’s heavily rooted in its time and place while resonating with all audiences.

“We really want audiences to remember how things where when they were young, and that love can exist without barriers,” Mallade said. “Just remember the world when you were a kid, and you really cling to one’s memories.”

“Little Amélie or the Character of Rain” is now playing in theaters nationwide.

November 8, 2025 0 comments
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Garin Nugroho's 'Opera Jawa' to Open Jogja-Netpac Asian Film Festival
TV & Streaming

Garin Nugroho’s ‘Opera Jawa’ to Open Jogja-Netpac Asian Film Festival

by jummy84 November 8, 2025
written by jummy84

The 20th Jogja-Netpac Asian Film Festival (JAFF) will open with Garin Nugroho‘s musical “Opera Jawa” and close with Aco Tenriyagelli’s feature directorial debut “Comedy Buddy” in Yogyakarta.

This edition marks a milestone for the festival, which was first held in 2006. Carrying the theme Transfiguration, JAFF20 highlights the festival’s two-decade journey and the transformation of Indonesian and Asian cinema during that period.

The opening film, originally premiered at JAFF’s inaugural edition in 2006, will be screened in its original 35mm celluloid format at a ceremonial program at Universitas Gadjah Mada’s Gelanggang Inovasi dan Kreativitas. “Comedy Buddy” is produced by Bion Studios and Spasi Moving Image.

JAFF20 will present 227 films from 43 countries across competitive and non-competitive programs. Eleven feature films will compete in the main competition for the Golden and Silver Hanoman Awards: “A Useful Ghost” by Ratchapoom Boonbunchachoke, winner of the Grand Prix at the 2025 Cannes Critics’ Week; “Amoeba” by Siyou Tan; “Becoming Human” by Polen Ly; “Flames” by Ravi Shankar Kaushik; “Girl” by Shu Qi, which premiered at the Venice Film Festival; “Hair, Paper, Water” by Nicolas Graux and Trương Minh Quý; “Lost Land” by Akio Fujimoto; “On Your Lap (Pangku)” by Reza Rahadian, winner of four awards at Busan; “Summer’s Camera” by Sung Divine; “Sunshine” by Antoinette Jadaone; and Pingyao winner “The World of Love” by Yoon Ga-eun.

The Indonesian Screen Awards will feature 13 Indonesian films competing across nine categories, with four new categories added this year: Best Production Design, Best Sound, Best Original Music and Best Poster Design.

Competing titles include “A Thousand Shades of Purnama” (Seribu Bayang Purnama) by Yahdi Jamhur; “Agak Laen: Menyala Pantiku!” by Muhadkly Acho; “Better Off Dead” (Tinggal Meninggal) by Kristo Immanuel; “Dancing with the Body” (Lenggak-Lenggok) by Andi Imam Prakasa; “Dopamine” (Dopamin) by Teddy Soeriaatmadja; “Ikatan Darah” by Sidharta Tata; “Mothernet” by Ho Wi Ding; “Rangga & Cinta” by Riri Riza; “Smothered” (Legenda Kelam Malin Kundang) by Rafki Hidayat and Kevin Nugroho; Indonesia’s Oscar entry “Sore: A Wife from the Future” by Yandy Laurens; “The Period of Her” by Erlina Rakhmawati, Praditha Blifa, Sarah Adilah and Yulinda Dwi Andriyani; “The Tiger” by Ardiansah Sulistiana; and “Worn Out” (Judheg) by Misya Latief. “Ikatan Darah” and “Mothernet” will have their Indonesian premieres at JAFF20.

Non-competition programs include 22 feature films and 27 short films in Asian Perspectives, and nine Indonesian features in the Indonesian Film Showcase, including “Lost in the Spotlight” (Lupa Daratan), which marks Ernest Prakasa’s return to the director’s chair.

The Panorama program will feature works by acclaimed Asian directors, including “It Was Just An Accident” by Jafar Panahi, winner of the Palme d’Or at Cannes 2025, and “Two Seasons, Two Strangers” by Miyake Sho, winner of the Golden Leopard at the Locarno Film Festival 2025.

“Indonesian cinema continues to show significant growth. In just the first quarter of 2025, cinemas recorded 35 million admissions, or around 44% of the total audience in 2024,” said Ifa Isfansyah, JAFF festival director. “A remarkable milestone this year was the animated feature ‘Jumbo,’ which broke records by surpassing 10 million viewers. Indonesian films have also premiered at major international festivals and brought home prestigious awards.”

The festival continues its partnership with Cinema XXI as the main screening venue.

JAFF20 will continue collaborations with longtime partners including the Asian Film Academy and Netflix. Under the Asian Film Academy collaboration, JAFF will bring director Ann Hui for a masterclass and screen two of her seminal works, “A Simple Life” (2011) and “July Rhapsody” (2002), in newly restored 4K versions. The collaboration will also present seven Hong Kong feature films and four short films.

Netflix programs include Reel Life Film Camp, a hands-on workshop for entry-level professionals, and Creative Asia, a forum bringing together creators from across Southeast Asia featuring filmmakers including Kimo Stamboel, Joko Anwar, Erik Matti and Kulp Kaljareuk.

“Last year, we introduced the Sneak Peek program, giving filmmakers a special platform to present early footage of their upcoming releases. This year, Sneak Peek will feature ‘Four Seasons in Java’ by Kamila Andini,” said Alexander Matius, JAFF program director.

JAFF Market returns with six programs: JAFF Future Project, Content Market, Talent Day, Film & Market Conference, Market Screening and Film Lab, held Nov. 29 through Dec. 1 at Jogja Expo Center.

JAFF20 runs Nov. 29 through Dec. 6.

November 8, 2025 0 comments
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Sky's ITV Bid Leaves Industry Perplexed, But There's Logic To Deal
TV & Streaming

Sky’s ITV Bid Leaves Industry Perplexed, But There’s Logic To Deal

by jummy84 November 8, 2025
written by jummy84

Uncertainty over ITV‘s future has been one of the dominant themes of 2025. Famed for launching Downton Abbey, the network has been courting sale interest for well over a year, but for all the industry chatter and press speculation, ITV’s silence has been stony. That all changed on Friday, when the UK broadcaster dropped a bombshell worthy of Love Island: a buyer has entered the villa.

In a 70-word statement, ITV told shareholders that Comcast-owned Sky has made a £1.6B ($2.1B) bid for its media and entertainment division, which houses its TV networks and streaming service. If a deal is completed — and it remains an if — then ITV will be split in two, with shareholders retaining control of ITV Studios, the production and distribution unit behind shows including Fool Me Once and The Voice.

Deadline hears that Sky has been laying the groundwork for this moment for some time. Sky, which is very much leading on the deal with its parent Comcast in the background, has been quietly talking to ITV leaders about the shape of the takeover and why it makes sense for both parties. Work has also been undertaken to examine whether regulatory hurdles can be cleared. A formal deal remains weeks, if not months away, but a source familiar with the talks said there is “goodwill and momentum.”

Maya Jama, host of ‘Love Island’

ITV2

ITV’s much-discussed and notoriously sticky share price (chair Andrew Coslett was heckled over it at ITV’s latest AGM) jumped more than 10% after the bid was announced, but Sky’s move has left some in the industry scratching their heads.

The pay-TV operator is one of the British media’s great success stories, forged when Rupert Murdoch was at his swashbuckling best. But in recent years, the company has been managing decline and has at times felt like an unloved child in the Comcast empire. On a recent earnings call, Comcast chiefs, including Brian L. Roberts, did not mention Sky once — usually because it raises awkward questions about the hefty $39B Comcast paid for Sky in 2018. On the Sky side, there is a view among some at its West London HQ that Comcast has mismanaged its asset. Sky, which has made mass layoffs over the past year but did return to profit, has had its value written down by £1.2B, (nearly a quarter) since it was acquired.

So why is Comcast backing Sky’s pursuit of another contracting business? Or, as one observer dryly put it: “Why would you want to take the bad part of ITV away from the really good part?”

A Scale Play

Those close to the deal will tell you that Sky sees ITV as complementary, bringing together the UK’s biggest free-to-air commercial broadcaster with the top pay-TV platform. There is a belief that this will present a compelling offer for advertisers and help unlock new subscribers for Sky. For both parties, bigger is seen as better in a world in which they are competing for viewers, and therefore revenue, with global giants like YouTube and TikTok. This, of course, mirrors what is happening in the U.S., with buyers circling Warner Bros. Discovery as the ink dries on the Paramount-Skydance merger. “The way the market is looking, a deal like this does make sense,” said a Sky insider.

Industry execs noted that Sky has been mulling a free-to-air acquisition in the UK for some time, given that the pay-TV network took a serious look at Channel 4. Ultimately, the British government abandoned plans to sell Channel 4 in January 2023.

Sky remains the biggest home for Premier League football in the UK.

A former Sky executive said the company is constantly exploring ways to bolster its declining and aging customer base, meaning it could view ITV, and its streaming service ITVX, as another shop window for its content, not least sport. Sky remains the biggest home for Premier League football in the UK. “Not everyone who watches ITV watches Sky, but everyone who watches Sky watches ITV,” said an industry observer.

The former Sky executive pointed to its heavily marketed Essential TV deal — which bundles Sky Atlantic (home to House of the Dragon) with an ad-tier Netflix plan for £15 — as evidence of the company’s efforts to reach new subscribers. They said this sort of offer would have been unthinkable, even five years ago. “Sky is like a massive cruise liner with a small hole. It will sink eventually, but maybe ITV plugs this gap a little longer,” the source said.

While there is crossover between the ITV audience and Sky subscribers, Tom Harrington, Head of Television at Enders Analysis, said the broader audience will be a much better sell to advertisers. “You’d be enormous in a shrinking market,” he added. “If you have a declining business in many ways and combine it with another [declining] business then suddenly you look a lot bigger. That is better, even if putting them together won’t really arrest what they are facing.”

Another well-placed former Sky insider agreed the deal makes sense if Comcast wants to run Sky and ITV for cash, essentially juicing what remains of declining but still lucrative ad businesses. This person, along with numerous other sources, said there would be significant cost-cutting that could be achieved in slamming the businesses together (broadcasting union Bectu quickly voiced alarm that the deal would have “huge implications” for ITV staff). But ultimately, the former Sky insider came back to an analogy often whispered among bankers who are merging weakening businesses: “Two drunks propping each other up at the bar.”

An Ad Monopoly?

Other questions linger. There is no guarantee a Sky takeover of ITV would be cleared by regulators. The deal would need to be approved by Ofcom and the Competition Markets Authority. There is confidence this can be achieved, and the UK government has signaled in recent months that it wants to make it easier for broadcasters to come together.

Nevertheless, Sky and ITV are estimated to cover around 70% of the advertising market, meaning that any deal would certainly raise eyebrows from commercial competitors, not least Paramount-owned 5. “That would be the biggest hurdle,” noted a Sky insider, who said the deal would be the first big test of whether the government will greenlight consolidation.

Ex-ITV chair Peter Bazalgette, an industry doyen, told BBC Radio 4’s Today show that regulators should be flexible, given that ITV is now taking on the likes of Google and Meta in the video advertising space, not just its more immediate rivals like Channel 4. Bazalgette’s argument mirrors the one that ITV has begun making to UK lawmakers and regulators.

There is also the question of the duo’s overlapping news businesses. Both are widely respected, but Sky News has been loss-making for years and its current funding guarantee from Comcast — one of the stipulations of the 2018 deal — expires in 2028. A person close to Sky News suggested that the service could end up producing ITV News, which would get Comcast out of a “really difficult decision in 2028,” but would be bad news for current supplier ITN.

ITV News anchor Tom Bradby

Breaking ITV apart would also lead to questions over the deep ties between its network business and studios arm. “They are so inextricably linked,” said the market observer. “But the terms with which they relate to each other would, of course, become less advantageous and beneficial. So you’re buying something that wouldn’t be as good as it is now.”

The assumption from some of our sources is that ITV CEO Carolyn McCall will seek a buyer for the studios business soon after the sale of networks. Banijay and RedBird IMI have held talks, but interest has cooled in recent months. ITV insiders value it at £3.5B, and there is little doubt that it is an attractive asset in a consolidating market.

ITV, a grand old institution of British broadcasting, recently celebrated its 70th birthday. The company knows better than most that it must adapt to survive. Executives will hope that their courtship with Sky can turn into an enduring union, even if the takeover bid has left some perplexed.

Sky, ITV, and Comcast declined to comment.

November 8, 2025 0 comments
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Bryan and Amaya on 'Love Island USA' season 7.
TV & Streaming

Peacock Renews Beyond the Villa Spinoff Love Island USA Winners

by jummy84 November 8, 2025
written by jummy84

Peacock has renewed the spinoff Love Island: Beyond the Villa for a second season, with Amaya Espinal and Bryan Arenales, who won Love Island USA season seven, returning as fan favorite Islanders.

Dumped Love Island USA alum reuniting for a new season of Beyond the Villa include Chris Seeley, Iris Kendall, Jose “Pepe” Garcia, Isabella “Belle-A” Walker, Hannah Fields, Jeremiah Brown, Courtney “CoCo” Watson, TJ Palma, Clarke Carraway, Gracyn Blackmore, Andriena Santos and Taylor Williams.  

Production on the second season has gotten underway, with a premiere set for early 2026. During its six-week run, Love Island USA season seven — the American dating series version of the global cultural phenomenon — earned over 18.4 billion minutes streamed on Peacock and became the platform’s most successful original series.  

The momentum for the Love Island reality series also this past summer lifted the spinoff series Beyond the Villa, which follows former islanders as they return to their homes after a summer in Fiji to navigate their fame.

Surrounded by familiar faces and past connections, the Islanders test their romantic relationships in the real world, resolve unfinished business with exes and discover life outside of the villa has its own challenges, according to a synopsis from the producers.     

NBCUniversal also announced Jeremiah Brown, Amaya Espinal and Iris Kendall will appear at BravoCon 2025 on Nov. 16.

Love Island: Beyond the Villa, a dating competition series, is produced by ITV America, in association with GroupM Motion Entertainment. David George, Adam Sher, Jordana Hochman, Sarah Howell, Brian Appel, Tom Ciaccio and Blake Garrett and Chet Fenster executive produce.

November 8, 2025 0 comments
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Colchester v Bromley League Two TV channel, live stream, kick-off time
TV & Streaming

Colchester v Bromley League Two TV channel, live stream, kick-off time

by jummy84 November 8, 2025
written by jummy84

Bromley welcome Colchester United to Hayes Lane in one of League Two’s Saturday lunchtime kick-offs.

The mid-table duo will be looking up the fourth-tier table as they look to cut the gap to the top seven.

Bromley are 11th, two points back from the play-off places, and unbeaten at home in League Two this season.

A four-game unbeaten run, including three wins, has Colchester up to 14, three points behind their hosts, but Danny Cowley believes his team are still evolving.

RadioTimes.com has rounded up everything you need to know about how to watch Colchester v Bromley on TV and online.

Read more football features: Best players in the world | Best players of all time | Live football on TV today

When is Colchester v Bromley?

Colchester v Bromley will take place on Saturday 8th November 2025.

Check out our live football on TV guide for the latest times and information.

Colchester v Bromley kick-off time

Colchester v Bromley will kick off at 12:30pm.

What TV channel is Colchester v Bromley on?

You can watch the game live on Sky Sports+ from 12:25pm.

Sky Sports can be added to any Sky TV package for just £22 per month for all nine sports channels, or you can pick up the complete sports package plus Netflix for £35 per month.

Sky Sports + will feature more than 1,000 EFL games throughout the season and is included as part of Sky Sports packages.

How to live stream Colchester v Bromley online

Sky Sports customers can live stream the game via the Sky Go app on a variety of devices including most smartphones and tablets as part of their subscription.

You can also watch the match via NOW with a day membership (£14.99) or month membership (£34.99).

NOW can be streamed through a computer or apps found on most smart TVs, phones and consoles. NOW is also available via TNT Sports.

Is Colchester v Bromley on radio?

Unfortunately, there will be no national radio coverage of the game. Please check your local radio network for coverage details.

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Colchester v Bromley odds

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bet365 odds: Colchester (21/20) Draw (12/5) Bromley (23/10)*

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Check out more of our coverage or visit our and to find out what’s on. For more TV recommendations and reviews, listen to .

November 8, 2025 0 comments
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Parker Schnabel
TV & Streaming

Parker Schnabel Stuns Kevin Beets With Shocking Move in Season 16 Premiere

by jummy84 November 8, 2025
written by jummy84

What To Know

  • Season 16 of Gold Rush begins with Parker Schnabel, Tony Beets, and Rick Ness returning to the Yukon, each aiming for ambitious gold totals amid record-high gold prices.
  • Parker faces early equipment and staffing challenges but secures a strong first weigh-in, while Tony’s crew narrowly avoids disaster with a truck accident and achieves a lucrative early gold haul.
  • Rick Ness struggles with permit issues at Duncan Creek, considers alternative sites, and ultimately decides to pursue mining at Lightning Creek after advice from Parker and Tony.

[Warning: The below contains spoilers for Gold Rush Season 16.]

Our favorite miners are back in the Yukon for Season 16 of Gold Rush on Discovery Channel. With the price of gold continuing to surge to upwards of $3,500 an ounce, Parker Schnabel, Rick Ness, and Tony Beets look to cash in a big way. The two-hour season premiere on Friday, November 7 kicked off with a quick interaction between Tony and Parker. 

The latter eyed an aggressive 10,000 ounces this year and years to come. Tony was looking to build on momentum from last season. “I’m glad you’re doing well,” Parker said. Tony said the same to him. Parker replied, “Hopefully, the wars are behind us.” We’ll see if things will stay cordial between the prodigy and the “King of the Klondike.”

Parker Schnabel 

The 31-year-old sunk a ton of money into his monstrous Dominion Creek claim. He counted on four wash plants to deliver better results than last year, which brought some disappointment. Parker sat down with his two foreman Mitch Blaschke and Tyson Lee before the work got underway. The mine boss didn’t sugarcoat things by warning them, “It’s going to be a stressful year for you two.” Mitch was assigned to finish up at Sulphur Creek over the 10 weeks Parker had a water license for it. Tyson had the pressure of running Dominion. A strong finish could mean Parker and his crew bring in $35 million. 

Before Tyson could hit any paydirt at Dominion, the crew had to deal with the water that flooded the cut over the winter. Pay was buried with three feet of solid ice. Parker wanted to get wash plant Bob sluicing over the week. Adding more issues, the feed chain system on the prewash conveyer was down. Mechanics worked feverishly to repair it, which gave them three days to sluice. 

Brennan Ruault/Discovery Channel

Mitch felt under the gun alone on the job at Sulphur. The good news is it wasn’t for long as in an unexpected turn of events Parker poached Brennan Ruault from Kevin Beets in a shocking move. Brennan had previously walked out on Parker after disagreements and reappeared working for Tony Beets’ son. Now after five years, he came back to Parker’s operation after breaking the news to a stunned Kevin and his partner Faith Teng. “Christmas came early,” said Mitch, as he reflected on the shocking switch.

There was some disagreement between Mitch and Parker. Mitch wanted to focus on the ditch to dig to get rid of water, which went against Parker who wanted immediate panning. Parker laid down the law, “you have two options: find some virgin ground or else you can leave.”  They finally drained the cut and exposed what could be their first hidden pay pocket. Parker panned and found encouraging gold. The Parker crew get together to meet up for their first weigh. Tyson’s result at the Bridge Cut ultimately brought in 125.80 ounces worth more than $440,000. A nice start, but Parker grounded the team, “we have long ways to go.” 

Tony Beets

Tony Beets

Tony Beets/Discovery Channel

Tony and family had already started sluicing two weeks into the season. He hoped for a quick score at the Early Bird Cut. There was already a weigh-in with 417.56 ounces from Indian River worth $1.5 million. Tony aimed for 6,500 ounces worth $22 million this season. His son Mike was directed to run Paradise Hill while Monica oversaw the gold room cleaning what would be coming in. Mike had the deadline to hit pay dirt by the end of the week. This was a proving opportunity. Mike worked to strip more ground and extend the cut. He had six new trucks to use. One of those $750,000 pieces of equipment flipped over with the driver Graham stuck inside. The truck hung on the edge of what could have been a 200-foot drop. The crew broke the top of the window so Graham could get outside. A dozer got the truck upright with the excavator used to keep it from falling off the cliff. Tony decided not to fire the crew member, but Mike was now down a truck. They do hit pay at Paradise Hill and could get sluicing. 

Kevin Beets 

Kevin Beets

Kevin Beets/Discovery Channel

At Scribner Creek, Kevin has started round 2 in his journey as a mine boss. He had a nice start sluicing early as well. Kevin poured his life savings into jumpstarting this operation last year. He hoped to double his return this time around with a goal of 2,000 ounces. Kevin and Faith were floored, losing Brennan. “I think we should go poaching too,” Kevin said. Despite the setback, he moved forward and depended more on others of his team. Kevin’s parents paid a visit as they were leasing the ground with a 10 percent cut. They weighed from one week of pay and came up at 57.04 ounces worth $200,000. It added up to being $60,000 more than the same amount was worth last year. Now it was about hiring another foreman. 

Rick Ness 

Rick Ness

Rick Ness/Discovery Channel

The underdog sat on a pile of gold at his Duncan Creek claim worth more than a million dollars. That’s because he still didn’t have a water license. He can’t mine there until that goes through. Rick explored the idea of venturing to a different piece of land while things get worked out. He headed to Lightning Creek to prospect if there was gold to mine. The claim was owned by his old landlord Troy Taylor. It was the man who sold him the Duncan Creek claim. Troy felt bad about the water license and hoped offering this opportunity would be a makegood. 

Rick questioned if he could trust him. Rick ran a spot check to see if the juice was worth the squeeze. He and the team weighed the small sample and wished to get a gram on the two-yard run. It came in at .525, just half of what Rick was hoping for. Rick doesn’t think it’s worth it. “We’re screwed,” he declared. 

Rick joined Parker and Tony in Dawson City where a local union has been working with miners without a no water license. Rick thought it was a waste of time. Rick, Tony, and Parker met for a drink and to reminisce. Parker and Tony thought he should reconsider the Lightning Cut. Based on their insight, Rick decided to make a run at Lightning Creek after all. 

Gold Rush, Fridays, 8/7c, Discovery Channel

November 8, 2025 0 comments
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'Savageland' Should Be Mandatory Viewing for I.C.E. Agents
TV & Streaming

‘Savageland’ Should Be Mandatory Viewing for I.C.E. Agents

by jummy84 November 8, 2025
written by jummy84

On Friday nights, IndieWire After Dark honors fringe cinema in the streaming age with midnight movies from any moment in film history.

First, the BAIT: a weird genre pick, and why we’re exploring its specific niche right now. Then, the BITE: a spoiler-filled answer to the all-important question, “Is this old cult film actually worth recommending?”

The Bait: Welcome to “Savageland,” Population You!

I.C.E. agents are horror fans too, right? It seems like you’d have to be to voluntarily risk your reputation for a hobby most famously associated with slasher villains. Sure, there are the red-blooded Americans who say they joined up to salute a bigoted version of Superman that never existed. But when I want to talk to Dean Cain, I prefer walking directions to the most publicly pathetic man in Las Vegas.

"Little Amélie or the Character of Rain"
FRANKENSTEIN, Jacob Elordi as The Creature, 2025.  ph: Ken Woroner /© Netflix /Courtesy Everett Collection

No, this midnight movie recommendation is for you, the true-blue horror movie lover who is spending this Friday night gainfully employed by the world’s foremost dipshit militia. Are you doing it because you like scaring people? I know a bunch of guys who get it. Jigsaw torments blind guys, too. Art the Clown likes brutalizing women. And though Pennywise doesn’t typically choose which kids to traumatize based on color, I’m sure he’d like to start. It’s nice to see yourself on screen, isn’t it? Good boy! Here’s a treat.

Directed by Phil Guidry, Simon Herbert, and David Whelan, “Savageland” is about your favorite thing: undocumented immigrants. Set along the U.S.-Mexico border, this genius found footage flick from 2015 centers on a mysterious massacre, supposedly carried out by a single man. Francisco Salazar (Noé Montes) is a shy photographer who crossed into Arizona years before the attack. On June 2, 2011, he was found fleeing the scene of a bizarre mass casualty event: 57 people, an entire village of immigrants and one notable white family, slaughtered in a single night. How can that be? The answer probably lies in the strange bite marks covering the corpses… and Salazar, too. But that fact won’t make it into court. 

Noé Montes in ‘Savageland’ (2015)TUBI

Convicting the killer is of paramount importance to Sheriff John Parano (George Lionel Savage) and the staunchly anti-immigrant base that voted him into office for the last four decades. But to him, this case is open and shut. Salazar — the bloodthirsty murderer from Mexico! — did this, plain and simple. Parano is supported by a Rush Limbaugh-type (Edward L. Green) and the subtle bias of Salazar’s own defense attorney (Jason Stewart), who insists his client got a fair trial despite more evidence, photographs Salazar took that night, showing a swarm of monsters and victims, being thrown out by a crooked judge. 

Framed as a broadcast true crime documentary made after Salazar’s trial, this brilliant lo-fi effort enlists several more talking heads to balance out the whodunnit. A civil rights expert (Lawrence Ross) compares the carnage to a slew of historic events implicating a racist government, such as the Tulsa massacre. There’s also a psychologist (Renee Davies) who finally gets the stoic defendant to talk in a clinical interview.

George Lionel Savage in “Savageland” (2015)TUBI

She believes Salazar when he says a mob of monsters attacked his community and the family he worked for — but she has trouble explaining why her patient would’ve been taking snapshots of the mutants instead of fighting them off. Enter the late Len Wein, a real comic book legend who plays a critical part in “Savageland” and represents the single most intriguing element of the film when revisited in 2025. 

Listen, I know you’re a big-time genre buff, and I’m just a girl “journalist” (lulz!), but I think you’ll like what comes next. Crafted in the spirit of George A. Romero, this extraordinary testament to independent filmmaking dares to ask what would happen if Duane Jones (yeah, the Black guy) didn’t get shot by police in “Night of the Living Dead,” but instead lived to endure the white mob’s torment in the light of day. 

Look. Illinois may have denied Secretary of Homeland Security Kristi Noem access to a bathroom during her latest visit — but I earnestly want you to enjoy this movie. Seriously. Kick back and relax! We’re all in “Savageland” now, and if you take your mask off long enough, horror might just save your soul.

“Savageland” is now streaming for free on Tubi.

‘Savageland’ (2015)TUBI

The Bite: What Happens If AI Starts Covering for These Zombies?

There’s too much happening right now to seriously fret about AI ruining the believability of found footage movies. But amid a sea of smart choices, the decision to have Salazar photograph his attackers on film sticks out a decade later. In “Savageland,” the late Len Wein — a real-life artistic superhero who created Marvel’s Wolverine, among many other triumphs — appears as photojournalist Len Matheson. He recalls hanging from a helicopter despite a fear of heights to capture vital scenes from the Vietnam War.

Matheson’s testimonial in the faux documentary provides essential context for Salazar’s ultimately fruitless legal defense, explaining how looking through a camera lens can make someone feel invincible even in the face of certain peril. Now more than ever, capturing the truth is important, and journalism is a valuable vocation, one of a small handful explicitly named in the Constitution. Without a weapon, Salazar faced the terror that had befallen his town by documenting what he could and sharing that harsh reality with the world — regardless of the consequences. The suggestion that the photos are doctored makes sense in a post-fact America, which was emerging even when this movie originally premiered before the first Trump term.

Len Wein in ‘Savageland’ (2015)TUBI

Since then, faith in politicians has declined precipitously, while the rise of AI has made the public’s perception ever easier to manipulate. The government officials in “Savageland” are obviously corrupt, but true cinephiles can take some small comfort in Matheson explaining why film photos would be harder to fake than digital images. Still, you’d be hard-pressed to find any No Kings protesters lugging around a Pentax17. Despite the growing similarities between modern news and Paul Thomas Anderson’s “One Battle After Another,” no one is watching CNN in VistaVision. Toss in the possibility that it might actually behoove killer AI to let a zombie attack wipe out humanity, and the point stands even stronger. (When your enemy is made of metal, isn’t all warfare biological?)

Lawrence Ross in ‘Savageland’ (2015)TUBI

“Savageland” further bolsters its credibility by casting real experts to play fake ones in the film. Wein was indeed a Vietnam veteran, and Lawrence Ross is a real journalist and historian who has seen a number of well-respected texts and novels about social injustice published under his name. In fact, this entire project is underpinned by the UCLA academic filmmaking scene — and the man who played Salazar, Noé Montes, continues to champion communities close to the border with his work as a visual artist.

Per his professional website, “For more than 20 years, Montes has documented and worked with underrepresented communities to effect change through storytelling, education, and advocacy around social, economic, and environmental issues.” Now through April 19, 2026, you can see “Regional History” — an exhibition of three collections from Montes — on display at the Riverside Art Museum in the Bobbie Powell and R. Ross DeVean Galleries.

November 8, 2025 0 comments
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Stranger Things Premiere Damage Control
TV & Streaming

Stranger Things Premiere Damage Control

by jummy84 November 8, 2025
written by jummy84

David Harbour is not having a good month. But attendees at the Los Angeles premiere event on Nov. 6 for the fifth and final season of Netflix’s “Stranger Things” might not have noticed.

Harbour was all smiles on the red carpet, particularly as he playfully hugged co-star Millie Bobby Brown, and they took selfies with fans. The two arrived at the event together, and even traded compliments in interviews on the carpet: Brown told “Entertainment Tonight” that she “obviously had a really special bond with David because we have a father-daughter relationship, and we do every scene together… It’s been so special to have him along the journey for me.” When Harbour spoke with ET, the only outlet he granted an interview, he said of Brown: “I adore her, and I’ve been proud to watch all of them grow up and become such great artists… this particular project is so special, and we’ve gotten to know each other so deeply.”

If the two seemed overly chummy on Thursday, perhaps that was the point: The premiere event came just days after the U.K.’s Daily Mail Nov. 1 report that Brown had filed a complaint of bullying and harassment against Harbour prior to the start of production of Season 5. Neither star commented on the story, and Harbour limited his interactions with the press at the premiere.

The news of Brown’s complaint against Harbour has threatened to overshadow coverage of the final season of “Stranger Things.” But insiders say that even before the recent news, Harbour wasn’t expected to take part in press junkets for the show due to his busy filming schedule. (His upcoming projects next year include HBO’s “DTF St. Louis” — with Jason Bateman and Linda Cardellini — and Marvel’s “Avengers: Doomsday,” opening December 2026.)

PR experts suggested to Variety that the red carpet choreography — as well as the full cast’s appearance together on stage at the TCL Chinese Theater prior to screening Episode 1 — was meant to send a message that the cast is united, and that the show is bigger than any one person. “The goal in these situations is to make it no worse,” one crisis PR exec said.

Instead, Netflix leaned into the imagery of Harbour and Brown being playful on the carpet, posting a video of the two as they greeted fans. Brown’s fashion brand, Florence by Mills, liked the video and posted a heart emoji, and many of the fan comments on the post suggested that they thought the reports of drama between the two stars was much ado about nothing. Photos taken inside the party also show the two being chummy.

Sources with knowledge of the situation have confirmed to Variety that there was an investigation into Brown’s complaint, and that it was resolved. As father and daughter on the show, as well as comrades in arms, Brown and Harbour share multiple scenes in Season 5 of “Stranger Things,” including a scene observed by a reporter for Variety during a day-long visit to the set in July 2024.

Representatives for Brown, Harbour and Netflix did not respond to requests for comment. On the carpet, the show’s creative leaders — creators Matt and Ross Duffer, and executive producer Shawn Levy — were asked about the complaint directly by the Hollywood Reporter; while they declined to speak about the actors by name, they all spoke about the importance of ensuring their cast feels safe within the “family” atmosphere of the show.

“I’ve read a bunch of stories and they range from wildly inaccurate to…there’s so much noise around it,” Levy told the outlet. “But the truth is that we view this crew and this cast as family, and so we treat each other with respect, and that’s always been bedrock.” Said Ross Duffer: “We’ve been doing this for 10 years with this cast, and at this point they’re family and we deeply care about them. So, you know, nothing matters more than just having a set where everyone feels safe and happy.”

In the first four seasons of “Stranger Things,” Brown’s character, Eleven (introduced in Season 1 as a quiet, pre-teen girl with extraordinary telekinetic abilities), and Harbour’s character, Hopper (introduced as the burnout chief of police of Hawkins, Indiana), form a surrogate father-daughter bond. In Seasons 2 and 3, Eleven and Hopper experience some friction due to Hopper’s overprotective concern for Eleven’s safety; by Season 4, the characters operate in totally separate storylines and don’t share a scene until the last minutes of the season finale.

The Daily Mail report was sourced to “a friend” of Harbour’s ex-wife Lily Allen. That’s of note because the story of Brown’s complaint broke amid a flurry of attention surrounding Harbour’s divorce from singer-songwriter Allen, whose new album, “West End Girl,” goes into extensive detail about Harbour’s alleged infidelity, as in the song “Pussy Palace.” In his review in Variety, Chris Willman said the album “is a divorce record with a capital D,” and that Allen and Harbour split up “after five years of marriage that apparently started as a fairy-tale romance for her and ended in the devastation strewn throughout every track on the album.”

November 8, 2025 0 comments
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